The tamer, traditional form of striptease is alive and well in the person of Montrealer Scarlett James, who’s made it her livelihood for more than three years.

In addition to performing at shows and corporate events in Canada and abroad, James has co-written a book (True Art of Seduction), published a 2013 calendar starring herself in pin-up poses inspired by Alberto Vargas, and organizes two annual burlesque showcases, including a festival that will run three nights at the end of September at Club Soda.

“I didn’t create something new. In the ’30s, ’40s and ’50s, Montreal used to be renowned for its burlesque. I took something beautiful and authentic from the past and just gave it more modern inspiration and technology,” she said in an interview.

“In my striptease, there are fancy costumes and props, but there is absolutely no nudity. It’s classy and respectful — not risqué, just sexy and fun. It’s all about the journey, not the destination. I performed this summer for the consul-general of France at the Musée des Beaux-Arts and you can’t get more conservative than that.”

Scarlett James, of course, is an alias.

But she’s not about to give her real name after spending five years creating and building what she calls “the brand.”

She’s actually from France, and moved here as “a young woman” in 1995.

So why pick an English stage name?

“For me, French wasn’t exotic. And I wanted something with international reach.”

Scarlett James is a fusion of two characters she considers to be iconic sex symbols — Gone With The Wind’s Scarlett O’Hara and old 007 himself, James Bond.

“That’s the thing about burlesque. There’s humour in it. It’s about not taking yourself too seriously, interacting with the audience,” she said.

Her first exposure to the art form came five years ago when she and her husband attended a local amateur show at the MainLine Theatre on St. Laurent Blvd. at the invitation of friends.

“I just fell in love with it, the glamour, the feathers and rhinestones, the crowd reaction. There was a real connection between the artist and public, a lot of give and take. I could see an opportunity to make an amateur product more professional and high-end and interest a more mainstream audience.”

James, who’d attended dance and acting classes as a teenager but had limited performing experience, began to work on her own act and costumes and let organizers of a local show know she was available.

When one of Team Burlesque’s regulars couldn’t go on, she got the call as “guest performer.”

“It was a very intense two-and-a-half minutes. My knees were shaking. But it went well. Everybody seemed to like it. I got lots of compliments.”

Also, a whole $30, which didn’t even cover the cost of her costume.

She made even less for subsequent performances — sometimes nothing at all — but “it was all part of paying my dues. I had to practise my art, improve.”

Nowadays, she commands much higher fees, though prices vary with the circumstances. One corporate client wanted a full burlesque show with multiple performers and was willing to pay $20,000 for it. She’s been hired to perform in the U.S., China, and Europe.

On her cellphone, she keeps a photo of herself in a five-foot-high champagne glass, from one of her best-known numbers. It’s to show Customs agents when she’s checking in the large cardboard box containing the glass. “It’s fun to watch the reactions,” she said.

Though she’s never taken a business or marketing course, James is savvy in both.

“It’s not that difficult to learn. Usually, the artistic and business sense don’t go together, but I have that duality.”

Her business is split into two divisions: Montreal Burlesque Productions, which has the intellectual properties, and Universal Dream Productions, which exploits the properties.

She has a well-crafted website and uses social media extensively. If you Google the words Montreal and burlesque, she’s a recurring thread.

“It usually takes three to five years to get established and I’m still in the building phase of my business, focusing on structure, organization and reinvestment.

“But I started during a recession, so if I could make it through that, I figure I can make it through anything.

“The hardest thing is just the sheer amount of work when you’re doing it all by yourself, creating something from scratch. I had to create a product as well as a market,” she said.

Before adopting burlesque full time, James worked in a doctor’s office as a laser technician.

“I stopped in 2009 when I got busy with the festival. I couldn’t do both anymore. Before that, I tried other things. Nothing was fulfilling for me until I discovered this. Finally, I knew what I was meant to do. I could create my own act and costumes, be on stage, be my own boss. I could focus my energy, I was fulfilled in every way. In burlesque, each performer is a star and mini-business on her own. When I told my mom what I wanted to do, she was fine with it. Now she even helps me with costumes, accessories and decor.”

It’s been a lot of work, however, as James handled every administrative and clerical job in addition to performing.

The burlesque festival is a major undertaking with a total budget of about $40,000.

“And it’s my own money. We don’t get grants like other festivals,” said James, who recently hired an assistant, her first employee.

Long-term, she’d like to have a permanent home for her shows and a travelling version for the international market.

And when it’s time to hang up the sequins, “I’ll just change my role a bit, be more of a creator, costume designer and organizer.”

Correction: The original version of this story incorrectly credited a photo shot by Ruth Gillson. The Gazette regrets the error.

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